I soon realized that writing the review for “Sampooran” would be a rather spontaneous process because of the music’s deep connection from my spiritual self. This holds true for every powerful piece of art which grips oneself from within and elevates them to an indiscernible yet emotionally blissful state. When suddenly everything becomes obvious, everything is rendered meaningless and nothing exists but that spiritual bond between the viewer and the art form. Jacques-Louis David’s “The Death of Socrates” for instance is a work of art that evokes a certain emotional reaction within me. And I am sure all of us encounter that feeling.

Likewise, classical music is a form of art that is deeply rooted in man’s emotional constituency. Good compositions in classical music are those which are capable of harnessing those raw human emotions. The artistic void created by the demise of Nusrat Fateh Ali Khan has effectively been filled by the Meekal Hassan Band as they give us an elaborate sonic experience that is both iconoclastic and simultaneously:

Esoteric.

Light waves Crashing on shore.

Waterfalls.

Spiritual.

Emotional.

Elating.

Ecstatic.

Mystical.

Gnostic.

Otherworldly.

Ethereal.

Spontaneous.

Unpredictable.

Divine.

Butterfly.

Fire.

Weightless.

Limbo.

Serene.

Powerful.

Sky.

Experience.

Cool, Starry Night.

Moonlight.

Art.

Reputed as a “fusion” album long before it came out “Sampooran” is indeed fusion in the truest sense of the term. MHB flaunts its musical ingenuity and knowledge on every track of the album by combining elements of two of the most sensual genres; jazz and Indian-classical music. For instance the merciless jazzy bassline on “Late Moon” (which sounds like its being played on an upright bass, but I am not making claims), possesses the listener with its haunting emotionality. Likewise the instrumental break on “Darbari”, when Meekal Hassan solos uninhibitedly is another example of the soulful amalgamation of jazz and Indian classical on “Sampooran”. The drums, the basslines, chords and solos it seems like are brought in from the “jazz quarters” while the flutes, vocal melodies, etc. are Eastern. The production is very simple. The album is also impressive percussively with various instruments playing in the background that compliment the jazzy drums. This is what I gathered by listening to the album, and I have a very rudimentary understanding of the technicalities of music.

The vocals on most songs are classical mantras. This is evident of the fact that MHB’s motif in this endeavor was to create an emotional sonic experience for the listener. The lyrics on other songs are Sufi mystic poetry (e.g. Ya Ali, Waris Shah).

I think it is futile for me to sit here and describe the various components of the album or draw analogies to other artists (something that I had initially planned to mentioning) in order to further define the album. Quite frankly that takes away from the “experience” of “Sampooran”. I think this album should be approached as an art form and not as conventional Paki-pop.

Hands down, the best record to come out in Pakistan in ages.

The rose’s song rang out amidst the garden;
Leaves of fine gold, one upon another
Smiling laughter, too,
I brought into this world of colors.
Then from all this,
My blossom bursting, scattered
I gave my petals to this world
Where nothing matters
(Omar Khayyam)